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Publisher’s Description

The New Photography in Japan, influenced by Germany’s ‘Neue Sachlichkeit’, the New Objectivity, and surrealism, differed strikingly from the pictorialism that had been the leading form of art photography prior to 1930. ‘Koga’ was a small-press magazine that remained in print for less than two years, yet featured a number of amateur photographers, largely from the Kansai region, who became a driving force behind the New Photography movement. The catalogue for an exhibition featuring photographs printed in ‘Koga’, this publication examines the influence of foreign photographers on the New Photography and subsequent modes of photographic expression in Japan.

Publisher: Kokushokankokai

Size: 230 x 310 mm

234 pages

Japanese/English

Satomi Fujimura Eri Taniguchi
The New Photography in Japan, influenced by Germany’s ‘Neue Sachlichkeit’, the New Objectivity, and surrealism, differed strikingly from the pictorialism that had been the leading form of art photography prior to 1930.

North Korea and South Korea: a single group of people that not so long ago lived as one now leading completely separate realities on opposite sides of a military boundary known as the “38th Parallel.” “border/korea” is an attempt to illustrate these two countries divided by a line drawn on a map, using delicately juxtaposed photos.

Separated by just 190 kilometers, the people in Seoul and Pyongyang each go about their daily lives. As the result of numerous choices made over the 70-plus years since the Korean Peninsula was divided. A single race of people who share the same names, speak the same language and look very much alike has been transformed into two worlds apart. The uniforms that students wear, the soldiers on opposite sides of the boundary line, the buses and subways they ride and the umbrellas they raise on rainy days. The babies born into these two worlds inevitably grow up with the values impressed on them by their distinct ways of life.

Publisher: Libro Arte

Size: 285 × 230 mm

120 pages

Yusuke Hishida
North Korea and South Korea: a single group of people that not so long ago lived as one now leading completely separate realities on opposite sides of a military boundary known as the “38th Parallel.” “border/korea” is an attempt to illustrate these two countries divided by a line drawn on a map, using delicately juxtaposed photos.

An error has occurred is the major new book project by Melbourne-based photographer Rohan Hutchinson. The publication is based around a core series of large-format photographs that Hutchinson took during an expedition to the Arctic in early 2017. The focus of the expedition was to record and document the beauty, immensity and diversity of the Arctic landscape in this particular moment. Upon returning to Australia, Hutchinson set about reinterpreting and expanding the scope of resulting photographs in a bid to respond to the impact of climate change on the Arctic region and address our responsibilities not just as Australians, but as global citizens.

The final works comprise of two components. The first is a series of large-format photographs that capture the beauty, enormity, tonality and specificity of the winter landscape. The second is a series of physical and chemical reworkings of these photographic prints. Executed in Australia, this series saw Hutchinson re-sensitise the original C-type photographs with photographic emulsion liquid and expose them to the harsh Australian sun. Pared with their originals, the works reveal a ravaged, blackened arctic landscape. The works act as both a poignant allegory for the global resonance of our actions and as a précis on the limits and potentials of the photographic medium, taking Hutchinson’s research-based practice to new creative terrains in the process.

Publisher: Perimeter Editions

Size: 295 x 235 mm

48 pages

Edition of 700

Rohan Hutchinson
An error has occurred is the major new book project by Melbourne-based photographer Rohan Hutchinson. The publication is based around a core series of large-format photographs that Hutchinson took during an expedition to the Arctic in early 2017.

The photobook Jubilee consists of works by Japanese photographer Mayumi Hosokura taken between 2012 and 2017. Taken in East Asian countries like Japan, Taiwan, China and more, Hosokura’s images depict fragments of urban and rural landscapes, nude bodies, surfaces, textures, details and shapes.

“The extraordinary skill and view to depict the delicate and fragile beauty of the subject matter has been acknowledged to be one of the most talented Japanese female photographers of our age.[…] sometimes through the natural light or color filters, all the images are treated equally, yet transforming and being reborn within a very quiet but heated rhythm and beat underneath.”

Publisher: ArtBeat Publishers

Size: 290 × 215 mm

108 pages

Mayumi Hosokura
The photobook Jubilee consists of works by Japanese photographer Mayumi Hosokura taken between 2012 and 2017. Taken in East Asian countries like Japan, Taiwan, China and more, Hosokura’s images depict fragments of urban and rural landscapes, nude bodies, surfaces, textures, details and shapes.

“The dog in me tells me to seek out bustling streets, the cat tells me to enter every back-alley I come across, and the bug in me drags me towards the red-light quarters. Copying the world from the view of a lowlife, particularly loitering through Tokyo every day, I feel that this is all the meaning there is to my life and my taking photographs.” - from Daido Moriyama’s afterword

“K” (from the Japanese “kei” for “view, vista”) collects Daido Moriyama’s latest photographs, fragments of the city, its corners and crannies of the city, the figures that populate it.

Publisher: Getsuyosha

Size: 235 × 155 mm

176 pages

Daido Moriyama
“K” (from the Japanese “kei” for “view, vista”) collects Daido Moriyama’s latest photographs, fragments of the city, its corners and crannies of the city, the figures that populate it.

Our culture is addicted to weather: hourly forecasts, apps, radio, TV channels, alerts, warnings, and watches. And understandably---our food, clothing, livelihoods, and, increasingly, safety are tied directly to the weather and climate change. In The Big Cloud, photographer Camille Seaman stands in front of tornados, at the edges of lightning storms, and in pelting hail under pitch-black skies to capture supercells and mammatus clouds in their often sublime and terrifying splendor. In these awe-inspiring photographs, Seaman's work is a potent reminder that there is no art more dramatic, in scale or emotion, than that created by nature. The Big Cloud includes an introduction by award-winning New Yorker science writer and author Alan Burdick (Out of Eden, Why Time Flies).

Publisher: Princeton Architectural Press

Size: 254 × 203 mm

176 pages, 125 color illustrations

Camille Seaman
In The Big Cloud, photographer Camille Seaman stands in front of tornados, at the edges of lightning storms, and in pelting hail under pitch-black skies to capture supercells and mammatus clouds in their often sublime and terrifying splendor.

Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher’s Description

In 1963 the waters began rising behind Glen Canyon Dam and 170 miles of the Colorado River slowly disappeared as the riverbed and surrounding canyons filled with water. Those who supported and those who opposed the dam considered it a longterm transformation; environmentalists mourned Glen Canyon as dead and gone forever. But it’s coming back, in a victory that is also the pervasive disaster of climate change. There isn’t enough water in our new age, and so the world that drowned half a century ago is reappearing. Byron Wolfe, Mark Klett, and Rebecca Solnit spent half a decade exploring the place as expectations and possibilities changed and the river reemerged at the upper end of the reservoir. What they found is here in photographs and words.

“Lake Powell and the wreckage of where it used to be and will never be again was the right place to think about the madness of the past and the terror of the future, even amidst the epiphanies of beautiful light and majestic space,” Solnit writes. “We came to know the flat blue water the hard sunlight bounced off, the green water in shallower places, the water that turned red with the dust storms washed down from the sandstone landscape, the roiling waters of Dirty Devil Creek pushing a wall of debris downstream after a deluge, the clear little streams and waterfalls in the side canyons whose lively movement died in the placid lake.”

Their starting point was Eliot Porter’s landmark book of color photography, The Place No One Knew: Glen Canyon the Colorado, published by the Sierra Club in 1963 as a political statement about what had been lost under the dam’s waters and why it should never happen again. Their ending point is the reemergence of the river and the rise of questions about climate, the fate of the southwest, the folly of human endeavors to control nature, and the possibility of seeing these places and problems in new ways. Like previous collaborative work using historic images, Klett and Wolfe retrace the physical locations where Porter made his photographs, now mostly submerged by the lake’s waters, often as deep as 400 feet beneath the surface. Unlike previous projects, this work is not a rephotographic examination of his earlier sites or scenes; by necessity, this effort involves making entirely new images in response to the original Porter works. Solnit’s accompanying text meditates on meanings and histories, drawing from both the trio’s explorations of the place and archival research.

Drowned River is a book about climate change, but also about how photography can describe beauty and trouble simultaneously, about depth and shallowness, about what it takes to understand a place and to come to terms with the enormous scale of the changes we have set in motion.

Introduction by Michael Brune

Essay by Rebecca Solnit

Publisher: Radius Books

Size: 11.25 x 13”

212 pages, 80 images

Mark Klett & Byron Wolfe
Drowned River is a book about climate change, but also about how photography can describe beauty and trouble simultaneously, about depth and shallowness, about what it takes to understand a place and to come to terms with the enormous scale of the changes we have set in motion.

The style and mythology of Mid-Century Modern California architecture as seen through the expert lens of Marvin Rand,

Los Angeles photographer Marvin Rand created iconic images of some of the most celebrated architectural creations of his time, photographing buildings by the likes of Modernist masters Craig Ellwood, Louis Kahn, and Frank Lloyd Wright to capture the essence of their work - and, in doing so, played a critical role in shaping the Mid-Century California style now worshiped the world over. The discovery of Rand's archive has brought a treasure trove to life, and California Captured showcases it - and the period - as never before.

Publisher: Phaidon

Size: 290 x 250 mm

240 pages, 240 illustrations

Marvin Rand
The style and mythology of Mid-Century Modern California architecture as seen through the expert lens of Marvin Rand

This is a book about Edward Weston before he was Edward Weston-before he was the renowned modernist photographer we know so well. His early years in the field coincided exactly with the height of the Pictorialist movement in America, and while he was never a typical practitioner, he did make photographs that borrowed themes from paintings and other media, and experimented with soft-focused imagery that sometimes looks more like graphite drawings or inky dark prints than photographs. He would later disavow the gauzy, painterly experiments of his early years, claiming in his Daybooks that “even as I made the soft ‘artistic’ work … I would secretly admire sharp, clean, technically perfect photographs.”

Introducing rare surviving prints from the unplumbed holdings of the Lane Collection at the Museum of Fine Arts, Boston, this book offers new insights into Weston’s working methods and his evolution as a photographer. By taking a longer and more nuanced view of his early years, and by reinserting his first experiments back into the larger story of his artistic production, it reveals the variety of ways in which the paths he took as a young man led him to become the mature modernist master. Beautifully reproduced examples of Weston’s most important early work, essays explaining its place in his oeuvre and the history of photography, and a section dedicated to the variety of Weston’s early materials and techniques make this book a must-have resource.

Publisher: MFA Publications

Size: 9 x 11”

192 pages, 115 colour illustrations

Edward Weston
Often overlooked-until now-Weston's early photography is painterly and luscious

The Shape of Light: 100 Years of Photography and Abstract Art exhibition explores the relationship between abstract art and the invention of photography, with artworks from the 1910s to the present day showing the innovation and originality of photographers as they responded to and furthered the development of abstraction. Edited by Simon Baker, Emmanuelle de l’Ecotais and Shoair Mavlian, with additional contributions by Sarah Allen and Emma Lewis, this paperback exhibition catalogue takes us from Man Ray to Maya Rochat, and includes an illustrated glossary.

Publisher: Tate

Size: 220 x 220 mm

224 pages, 200 photographs

Edited by Simon Baker and Emmanuelle de l’Ecotais with Shoair Mavlian.
he Shape of Light: 100 Years of Photography and Abstract Art exhibition explores the relationship between abstract art and the invention of photography, with artworks from the 1910s to the present day showing the innovation and originality of photographers as they responded to and furthered the development of abstraction.

Steve Fitch is among America's most well-known chroniclers of the American West since the days of Easy Rider. He has been photographing examples of the West's changing vernacular landscape and vanishing roadside landmarks for more than 40 years. In his new book, he presents both the ancient and the modern by way of petroglyphs, neon motel signs and hand-painted business signs, drive-in movie theater screens, and radio and cell towers. All of them are now endangered because of the advent of the Interstate Highway System and corporate franchises.

In this fascinating and comprehensive account, we are able to join in Fitch's expansive journey, truly an odyssey, as represented in the book's 120 unforgettable photographs, all sequenced to mimic the open road—both during day and night. Fitch explains the project in his informative introduction, in which, interestingly, he suggests that the petroglyphs of the ancient Pueblo people have endured far better and longer than anything made during the last sixty years. Curator Toby Jurovics, in his insightful concluding essay, positions Fitch's work in relation to that of the practitioners of the photographic style known as the "New Topographics” and Fitch's own view of photography as a visual form of cultural anthropology.

Vanishing Vernacular: Western Landmarks is sure to become a modern-day classic, a book that will be all the more revered as America and Americans move farther away from the highways of the past. That economy and roadside culture are vanishing like endangered species, but Fitch was along for the ride. In sharing that past, he has been witness to his own form of historic preservation.

Steve Fitch
Steve Fitch is among America's most well-known chroniclers of the American West since the days of Easy Rider. He has been photographing examples of the West's changing vernacular landscape and vanishing roadside landmarks for more than 40 years.

The New Colonists, a project in three parts, begins by presenting the uncanny suburban town of Mars in Pennsylvania, USA. Steeped in midnight tones, her quotidian documentations of gas stations, football fields and fast food joints transport viewers to a time, place and feeling of all American life, but more importantly, human life. The work is imbued with a sense of western normality - whilst hinting to an otherworldly undertone beyond these images.

Interrupting the quietness of small town America captured in the book are 5 additional sequences of images, which are inserted into this suburban narrative, chronicling the research and individual scientists who are attempting to make colonising the red planet a reality.

Placed at key intersections in the book, Alcazar-Duarte’s contrasting documentary images capture everything from the top space travel technology in the European Space Agency, to the terrestrial ‘Mars Yards’, where robotic rovers are put through their paces in artificial landscapes of rock and sand. Meanwhile, would-be astronauts are tested against the rigours of a future Mars mission, confined for months at a time to enclosed habitats in inhospitable places such as polar deserts, Hawaiian lava fields, or even an industrial estate outside Moscow.

These efforts take place in the most down-to-Earth of locations and circumstances as well as the most sophisticated, but all of these scientists are, or will be, leading the construction of a new future in a far land.

The third component of the book consists of an “Augmented Reality Portal”. Using an app designed by Paul Ferragut, readers are invited to search for and discover embedded footage and sound within the book’s pages. Through this ‘portal’ viewers encounter a new knowledge. The videos feature 3-D animations of spy satellites and space colonies by Levan Tozashvili as well as narration from Dr Ian Crawford, Professor of Planetary Science and Astrobiology at Birkbeck. Within this interview Crawford presents his ideas on Space colonisation. And the notions of “space law” and “space ethics”.

The New Colonists celebrates the zeal, creativity and resilience of the people behind the initial efforts our society is making towards this next phase in History. It encourages us to look to the far future with eyes wide open, with an imperative need to resolve legal loopholes, allowing space exploration to proceed in a peaceful and balanced way.

"As well as focusing on this high-cost, high-stakes and high-tech endeavour, the book is also about the everyday, as embodied by the town of Mars, Pennsylvania.By examining these two seemingly opposite subjects, Alcazar-Duarte renders "normal" life strange and extraordinary, and the rarified world of science accessible an d fallible. The book's third layer is an "augmented reality portal" – an app designed to allow readers to discover information about space hidden in its pages." -Bruno Bayley, Vice Magazine

Publisher: Bemojake

Size: 177 x 240 mm

120 pages + 12 pp booklet, 80 full colour photographs

Monica Alcazar-Duarte
he New Colonists, a project in three parts, begins by presenting the uncanny suburban town of Mars in Pennsylvania, USA.

After “Roadside Lights”, Eiji Ohashi’s next photographic exploration of the ubiquitous vending machines and the role they play in Japanese society.

“After snowfall, especially when driving in the north during snowstorms, sometimes the light from the vending machines helps me find my way. In these moments, the vending machines along the roadsides remind me of the hatted Jizō.” — Eiji Ohashi

"The “hatted Jizō” mentioned by Ohashi appear in a well-known Japanese folk tale. A poor but kind-hearted old man gives up the last of his bamboo hats to protect Jizō figures (buddhist statues) on the roadside from falling snow, and is then richly rewarded for his kindness.Ohashi’s photography brings out a strong sense of presence in the vending machines which, like the Jizō statues, cannot act of their own will. His snowy landscapes, lit only by the light of the vending machines, are particularly beautiful. The nightly snow scenes, taken when everyone else has sunk into sleep, invite their viewers into a world of deep thought. Looking at his images of vending machines standing in fields or in the middle of a town, we become aware of their human elements, their patient endurance of loneliness.In Ohashi’s monochromatic images, weaved only of light and shadow, the individuality of each vending machine emerges further, breathing new life into an everyday sight." — from TOP Museum curator Kazuko Sekiji’s afterword

Publisher: Case Publishing

Size: 225 x 297 mm

88 pages, 60 images

Eiji Ohashi
After “Roadside Lights”, Eiji Ohashi’s next photographic exploration of the ubiquitous vending machines and the role they play in Japanese society.

TTP is a series of photographs made from the window of Hayahisa Tomiyasu's eighth-floor student apartment in the German city of Leipzig. His southfacing view encompasses a public park with a ping pong table, which is the focus of his deadpan pictures. Each image is similarly composed, while the times of day, the seasons and the visitors to the table change. As we turn the page the function of the table mutates, from a tischtennisplatte (table tennis table) to a sun bed, a skate obstacle, a laundry counter, a kids' climbing frame, a work-out meeting spot, and a refuge from busy streets, among numerous other uses. Thanks to Tomiyasu's sustained curiosity, we observe the habits, humour and idiosyncrasies of human behaviour at the foot of this humble table.

Hayahisa Tomiyasu was born in 1982 Kanagawa,Japan. After studying photography at Tokyo Polytechnic University, he moved to Leipzig, Germany to study under Peter Piller. He currently lives between Leipzig and Zurich, where he now teaches.

Awards: First Book Award Winner 2018

Publisher:

Size: 200 x 270 mm

260 pages

Hayahisa Tomiyasu
TTP is a series of photographs made from the window of Hayahisa Tomiyasu's eighth-floor student apartment in the German city of Leipzig.

Liz named her daughter Lisa Marie, just like Elvis Presley’s daughter. French photographer Clémentine Schneidermann met Liz in Newport, Wales, a few miles away from the world’s largest festival to “the king”. Each year Liz joins tens of thousands of fans at the seaside resort of Porthcawl to celebrate the life and music of their icon, Elvis Presley.

From 2013 to 2017, Schneidermann joined too, creating portraits of fans Alison and her son, Steve, Samantha and Ian – among many others, for her series I Called her Lisa Marie. Schneidermann spent a lot of time with these people, using her camera to capture the poignancy of this flamboyant gathering where the life and music of the king offers a moment of solace.

Schneidermann is based in Cardiff, and travelled with the Alison and her son from Wales to where it all began in Memphis. She met the pair at the festival, where Alison’s son was performing under the stage name Johnny B. Goode. Schneidermann documented their pilgrimage across the Atlantic, creating Johnny B. Goode, a visual travel diary that is presented with I Called her Lisa Marie here in her first monograph.

Publisher: Chose Commune

Size: 250 x 250 mm

80 pages + 16-page leaflet

Clémentine Schneidermann
Liz named her daughter Lisa Marie, just like Elvis Presley’s daughter. French photographer Clémentine Schneidermann met Liz in Newport, Wales, a few miles away from the world’s largest festival to “the king”. Each year Liz joins tens of thousands of fans at the seaside resort of Porthcawl to celebrate the life and music of their icon, Elvis Presley.

Overseas deliveries Please note that, as this is a heavy item, overseas postage will be charged at twice our standard rates.

Publisher’s Description

From famous locations to the simplest home vegetable garden, from worlds imagined by artists to vintage family snapshots, The Photographer in the Garden traces the garden’s rich history in photography and delights readers with spectacular images. Picture commentaries by Sarah Anne McNear and an informative essay from curator Jamie M. Allen broaden our understanding of photography and how it has been used to record the glory of the garden. The book features photographers from all eras, including Anna Atkins, Karl Blossfeldt, Eugène Atget, Edward Steichen, Imogen Cunningham, Stephen Shore, Robert Mapplethorpe, Nobuyoshi Araki, and Collier Schorr. This sublime and beautiful book brings together some of the most stunning photography in the history of the medium.

Francesco Bosso presents his latest photographic work documenting with stunning black-and-white images the dramatic melting of the icebergs in the Arctic.

The “Global Warming” is devouring the glaciers of the Earth. As the author explains: “While touring around the Arctic borders, I have felt strong emotions, the fluidity of such a natural beauty is unsettling. You can immediately perceive the fragility and disaster in progress. Although the Arctic is so far away, it really is the thermometer of the Earth, therefore, it is important that people become more aware of the unfortunate consequences of global warming.” Inspired by the aggravating damage of environmental pollution, Last Diamonds aims to denounce the melting of glaciers due to climate change. In light of such issues, the photographer would like to offer his contribution to stop the melting of glaciers and to encourage the public to adhere to an ethic of Conservation of Nature. The images document the beauty of the Arctic through the emblematic icons of the biggest icebergs, which let the viewers think about the unique characteristics of such sites. Icebergs now becoming increasingly rare, precious jewels of nature at risk of extinction. Although they have a short life, sometimes just a few weeks, they are as majestic as rocky mountains, unavoidably beaten and sculpted by wind and water, creating new shapes unabated.

Publisher: Skira

Size: 294 x 294 mm

84 pages, 25 colour illustrations

Francesco Bosso
Francesco Bosso presents his last photographic work documenting with stunning black-and-white images the dramatic melting of the icebergs in the Artic.

This generously illustrated examination of architectural photography from the 1930s to the present shows how the medium has helped shape familiar views of iconic buildings.

Photography has both manipulated and bolstered our appreciation of modern architecture. With beautiful photographs of private and public buildings by Julius Shulman, Candida Höfer, Andreas Gursky, Thomas Struth, and others, this book examines the central and active role that photography plays in defining and perpetuating the iconic nature of buildings and places. This volume shows how different photographers represent the same building, offers commentaries on the “American dream,” and explores changes in commercial architectural photography. Placing decades-old images alongside modern ones, Image Building depicts the idea of the comfortable middle-class home and the construction of suburbia as an ironic ideal. It presents the ways that public spaces such as libraries, museums, theaters, and office buildings are experienced differently as photographers highlight the social, cultural, psychological, and aesthetic conditions to reveal the layered meanings of place and identity. Looking at how photography shapes and frames our understanding of architecture, this volume offers thought-provoking points of view through an exploration of social and cultural issues.

With contributions from Marvin Heiferman, Terrie Sultan

Publisher: Prestel

Size: 220 x 300 mm

144 pages, 47 colour illustrations, 54 b/w illustrations

Therese Lichtenstein
This generously illustrated examination of architectural photography from the 1930s to the present shows how the medium has helped shape familiar views of iconic buildings.

Planting trees, you put down roots. And what about those who dig them up? In 2013, during a long-term photography project along the Yangtze river, Yan Wang Preston (*1976) made an incisive observation: in the small village of Xialiu stood an over three-hundred-year-old tree in all of its glory, right in the center of a community that was, at the time of Yan’s visit, being coerced into moving so that a dam could be built in that location. Three months later, no trace of the village or the tree could be seen. The residents had moved up the mountain. And the seventy-ton tree? It was sold for ten thousand American dollars to a hotel in the nearest large city, Binchuan. Yan found the tree, divested of all its branches and leaves and bandaged in plastic, inside the skeleton of the hotel, which was still under construction—like a living sculpture that has yet to become cognizant of its new surroundings. In China, the country where cities are springing up, transplanting nature is big business. In the photo series Forest Yan tracks down many uprooted creatures that are now in concrete deserts, once again questioning our sense of the meaning of homeland.

Designed as an artist book The Fun Archeology presents the collection envisioned by French artist Thomas Mailaender. Over more than a decade he gathered thousands of originals documents found on flea markets, websites, charity sales or car boot sales.

A wide range of materials going from war letters to pornography, family photo album to political leaflet, anonymous work to artists proofs. By sequencing this body of images Mailaender creates a very personal and impressive visual archeology of the 20th century. The 112 items selected for the publication are all captioned and re-contextualised.

Publisher: RVB Books

Size: 320 x 280 mm

68 pages

Thomas Mailaender
Designed as an artist book The Fun Archeology presents the collection envisioned by French artist Thomas Mailaender. Over more than a decade he gathered thousands of originals documents found on flea markets, websites, charity sales or car boot sales.